To avoid confusion – 1. All of the notation is in scordatura. If your regular midi controller is tuned to play 16 edo you will get the sound of the chord progressions if you play the 12 equal notation. Consider it a transformation in tuning. 2. When I talk about scale degrees, such as referring to I, IV, or V, or a fifth or third, I am relating the structure in 16 edo to the function in 12 equal for the sake of being able to discuss something which does not have a widely know naming conventions. When, as I plan, start using progressions ambivalent or foreign to 12 equal this naming convention will have to be expanded. For now just consider it a way to get ideas across.
Tonic root, IV 2nd inversion with open voicing, V in 1st inversion with open voicing, tonic in root with double root. Cadence 2
Tonic I7 in root, IV7 in 2nd inversion, V7 in 1st inversion, tonic in 2nd inversion with 5th doubled. Cadence 3
Tonic root I7, IV7 in 4th inversion, V7 in 1st inversion, tonic in root with doubled tonic. Cadence 4
Tonic in 1st inversion, IV in root, V in 1st inversion, tonic in root with 3rd doubled. Cadence 5
Tonic in root, 3rd doubled, IV7 in 2nd inversion and open voicing, V7 in 2nd inversion (note the “incorrect” parallel “5ths”), tonic I with doubled root. Cadence 6
Tonic I7 in 1st inversion, IV7 in root, V in 1st inversion, tonic with doubled 3rd. Cadence 7
Tonic in 2nd inversion, IV7 in root, Tonic I7 in root, root doubled. Cadence 8
Tonic I7 in 2nd inversion, IV7 in root, V7 in 1st inversion, tonic I in root Cadence 9
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